https://www.peren-revues.fr/eugesta/943 Entrées d’index fr 0 https://www.peren-revues.fr/eugesta/1269 This article lays out several feminist strategies for translating Ovid’s Metamorphoses, arguing that these enable translators to clear away the patriarchal bias that has influenced previous translations of this epic. Using the Callisto episode as a case study, I show how major English translations obscure sexual assault, mitigate the criminality of those who perpetrate rape, and assign modern gender expectations and stereotypes to the past. Through careful close reading, feminist translators can question longstanding assumptions about the text that have been inherited from one translator and scholar to the next. Feminist translation, moreover, illuminates how our own contemporary assumptions were not necessarily shared by Ovid and his culture. jeu., 08 déc. 2022 15:43:31 +0100 ven., 01 déc. 2023 10:58:11 +0100 https://www.peren-revues.fr/eugesta/1269 https://www.peren-revues.fr/eugesta/1047 This is a comparison of Agathon’s role, in Aristophanes’ Thesmophoriazusae and Plato’s Symposium. Firstly, I examine the platonic version, and the unique, idiosyncratic part Plato gives Agathon to play, as a host to all, and a hostage to Socrates. Secondly, I discuss his interaction with Inlaw, the ordinary Athenian, in Aristophanes’ play. Such parallel reading allows us not only to refine our outlook on the dramatic construction both of the “talking party” and of the comic performance, but also to capture how really poikilos, for better or worse, that urban love could be. Finally, I analyze the significance of this juxtaposition, as an intertext. Plato, I argue, produces a proper palinode of Agathon, as an erotikos and a mimetic poet. By taking seriously the face-to-face between Agathon and Agathon, two dissonant, and yet compatible, variations on one man, our picture of Athenian erotic culture emerges sharper, and in greater detail. jeu., 16 juin 2022 08:31:02 +0200 ven., 13 oct. 2023 10:38:15 +0200 https://www.peren-revues.fr/eugesta/1047 https://www.peren-revues.fr/eugesta/941 This article undertakes a survey of the plays of Aristophanes in order to reveal what they tell us about concepts of attractiveness and body image. Old Comedy presents us with a view of beauty from a largely male perspective, and, instructively, the vast majority of comments that male characters make concern the appearance of females rather than boys or youths. Women are regularly discussed in comedy in terms of their body parts, e.g. and especially their breasts, and the ideal woman is, perhaps predictably, youthful. Further characteristics in women such as pale, smooth skin and well-tended pubic hair also attract positive comments. Male beauty is perhaps more complex. One ideal is certainly that of the broad-shouldered, tanned youth with gleaming skin and a small penis who exercises in the gymnasium. But there is also evidence of pale-skinned, effeminate youths being viewed in a positive light. In addition to looks, clothing and scent can add to women’s erotic appeal, and actions such as playing with phallic-shaped food are seen as flirtatious in both sexes. This article explores overlaps in the ways in which male and female beauty is described and suggests that these correspondences are partly explicable through the similar ages at which boys and girls are considered to be at their peak. The discussion also reveals the almost complete lack of attention paid to facial features – both in Aristophanes and classical Greek literature as a whole. mar., 14 juin 2022 13:38:59 +0200 mer., 15 mars 2023 08:35:57 +0100 https://www.peren-revues.fr/eugesta/941